Single & Lovin' It Vol. 19

Prism Tats
has shared the next cut from the self-titled album, out May 6th on ANTI-. “Creep Out / Freak Out” is the fourth track to surface from the forthcoming record, and continues to display Prism Tat's raw intensity and sheer exhilaration. Prism Tats is the drum machine-fuelled lo-fi garage-pop persona of Garrett van der Spek. The album was self-produced by van der Spek with help from Chris Woodhouse (Ty Segall, Wild Flag, !!!), who put an extra touch of magic into the mix, resulting in the ten tight, torqueing songs that make up Prism Tats. The album displays van der Spek’s unusual blend of rock-and-roll chops with sophisticated melodic sense, reminiscent at times of Spoon’s Britt Daniel, and combines real shades of steam and heat with comparatively-meditative reverb-laden tracks, recalling at times the ghostly throwback groove-stomp and fuzzy warmth of bands like The Jesus & Mary Chain, The Kills and The Raveonettes. The well-traveled van der Spek, originally from Durban, South Africa, moved to Seattle as part of a university exchange program and fell in love out there. Once he’d moved out stateside for good, he spent his time between Seattle and Los Angeles, building a repertoire for Prism Tats.

Elvis Depressedly
is Mathew Cotheran and Delaney Mills. Mathew and Delaney live in the Blue Ridge Mountains of North Carolina. They will release the holo pleasures / california dreamin' LP on Run For Cover Records on June 3rd, which is both a re-issue of their 2013 holo pleasures EP and a new EP of unreleased material on the B-side, california dreamin'. holo pleasures is a 12-minute cult favorite EP amongst the DIY scene and has spawned many bands from its sulky muddled influence. 2015's New Alhambra displayed a fully-texturized shift toward brightly melancholic noise-pop, inspired by Cotheran's influences and unsung heroes such as The Waterboys, Prefab Spout, and Emperor X. Check out new single “Slip.”

Fascinations Grand Chorus,
formed by rival songwriters Andrew Pierce and Stephanie Cupo, has released their track "Growing," which the duo describe the song as "an unsteady, anxious song about the insecurity of not addressing unclear intentions." Despite their many differences, Cupo and Pierce are brought together by their love of The Misfits, 1910 Fruitgum Company and certain antiquated arcade games. They reluctantly respect one another as songwriters and musicians through their personal disagreements. They joined together in part for the competition of writing against each other and to navigate through the waters of the current, lackluster music scene. Each release is a competition, often going further than a friendly challenge, but all for the greater good of pushing various boundaries of songwriting, producing and arranging. Their debut, self-titled EP includes analog recording and mixing with no digital alterations. The EP was recorded fall of 2015 in Jersey City and will be released on Silent Stereo Records.

Remote Places
is the solo project of Justin Gellar from Pink Skull. It's like the soundtrack to a modern day remake of The Breakfast Club. Gellar says of "Places You Go:" "It’s a song about someone who is tired of being taken advantage of by the free spirit they’re in love with. They're trying to deal with the fact that they’re not ok with being just a part time lover. It sounds like Ultravox or a happier version of The Cure or any 80s band that loves string synthesizer sounds." After working in a duo for most of his musical life, Geller wanted to release some work in a solo capacity different from Pink Skull. Remote Places’ debut EP, Nights and Weekends, was co-produced and recorded with Jeff Zeigler (War on Drugs, Kurt Vile, Nothing). Geller’s new sound gives a nod to the past, getting comparisons to classic alternative music like The Cure, New Order, and The Smiths, but also showing similarities to contemporary artists like The National, Washed Out, and Wild Nothing.

Ice Cream
is the Toronto-based musical project of long time friends Carlyn Bezic and Amanda Crist. Since 2014, the duo’s minimal, machine inflected “molecular pop” has been sending icy pulses through Toronto’s underground. “Veronica” comes from Love, Ice Cream, their debut long-play, was produced by Young Guv (Fucked Up) and Tony Price in co-ordination with Toronto’s secret weapon engineer Steve Chahley, and is due out June 3rd on Bad Actors Inc. Through the meticulous manipulation of Moog synthesizers, bass guitars, and various boom box inflated drum machines, the record finds Ice Cream melting down their acidic brand of oblique funk to its bare essentials. Collaboration is a key component of Ice Cream’s musical and visual DNA. When they are not staring at mannequins and drum machines in their dimly lit sound laboratory, Crist and Bezic are also known to be two of the Toronto’s most industrious musical allies. As members of rock and roll powerhouse Darlene Shrugg, the Slim Twig band and U.S. Girls, the duo’s distinct sonic and visual stylings continue to lend their city’s scene a heavy dose of cool.

Yumi Zouma
are set to release their debut album Yoncalla on May 27th via Cascine and have unveiled their next single “Barricade (Matter Of Fact). “'Barricade' was the first song that was really collaborative for us,” explains Josh Burgess. “I remember sitting on the floor in Charlie's apartment playing an unplugged bass, Charlie with an unplugged guitar and Christie humming out melodies. I hadn't worked on a track like that since I was in college. Around the mid-‘00s there was a real fetishization of 'solo musician in their bedroom writes indie pop masterpiece' which I think was a result of everyone getting MacBooks, multi track recording becoming seamless and people being sick of diplomatic creative arrangements. We worked that way (in isolation) on our first two EPs, but last year made a conscious effort to write together. It was never for the spontaneous element (the final version of ‘Barricade’ is a far cry from unplugged guitars and bass) rather, a way to squeeze the best ideas out of us and chop the strongest parts into a track.” Burgess elaborates further, “A camel is a horse designed by committee, but I love the members of the Yumi committee and I also love camels.”

Entertainer and showman Alex Cameron, along with his business partner and saxophonist, Roy Molloy, is a living and breathing story of success told through the internet; unedited, unscripted, and, up until now, to a dedicated audience of no one. Thanks to the good people at Secretly Canadian that is about to change, with the release of “She’s Mine.” Described by Clash magazine as “Sydney’s most literate song writer,” Cameron knows what he is doing, so much so that Jonathan Rado of the hit group Foxygen described the first Cameron performance he saw as “one of the most memorable, moving concerts I have or will ever witness.” And music icon Henry Rollins described Cameron as being 'right out of a David Lynch hell dream!'

is the latest ritualistic incarnation of Sicily-based Gioele Valenti (Lay Llamas, Herself). Through the music, JuJu tells the legend of a continuing exodus from Africa that more often than not ends in ignored tragedies at sea, a total defeat for humanity, in a hybrid of modern influences rooted into a dark, enchanted form of primal music. JuJu’s forthcoming self-titled debut doesn’t just suggest but screams spiritual moorings; the album itself is a ritual and is ignited by Afro groove rhythms, Kraut repetition, drone-fuzz coated psych riffs, Manchester scene shoegaze synth, prog-infused astral folk vocals and organs and almost tribal rock atmospherics. All the while with this is underlined with an ever apparent mythical, Mediterranean neo-paganism. Citing influence from African Earth magic, soil secrets and the inevitable ceremonial superstition associated with the band name, Valenti is channeling his personal apprehension and traumatic fervour of the current crisis through the warped sound of JuJu. The proficiency of both the instrumentation and Gioele Valenti’s lyrical rendering that make up this self-titled debut demonstrate that JuJu are more than the animalistic, tribal cousins of associated acts Lay Llamas and Herself – they are capable of proving themselves as a band in their own right, and not another incarnation of Valenti’s.

Comprised of PJ Carroll, Brandon Shipp, Tom Anthony and Travis Arterburn, Philadelphia-based CLIQUE are a melodic indie-rock band who are sure to catch the ear of any fan of the early heart-on-sleeve alternative scene. Formed from the ashes of various other bands, influences from these previous punk, math-rock and even indie-folk projects combined into a new project, over which hangs a much more pressing darkness thanks to gloomy guitar riffs, world-weary vocals and strong, steady basslines. Their debut self-titled LP was released in September 2014, which led to them signing with Topshelf Records, as well as playing shows with leaders of the rising US indie-punk scene like Modern Baseball and Sorority Noise. The band’s upcoming second album, Burden Piece, was produced by Arterburn at The Headroom in Philadelphia over eight days in November, and perfectly hits that spot in the middle of your chest with warm showers of twinkling guitar, calming vocals and languid riffs throughout.

Marius Lauber
AKA Roosevelt will release his stunning, self-titled debut album via City Slang / Greco-Roman records on August 19th. To mark its launch, Roosevelt unveiled a new video, which features two tracks from the album. With a surreal sensitivity akin to his previous videos, "Colours" stars Roosevelt alongside various characters in an abstract exploration of the five senses. The segue into "Moving On" then follows the protagonists' walk from their dream-like state into an everyday street scene, where they find themselves lost in the sensory overload of real world modern life. Written, recorded and produced by Lauber over a period of two years, Roosevelt is a pillow-soft hallucinatory dreamscape of nocturnal reveries and a lilting sense of melancholia, where sounds build and swell like waves. Roosevelt's signature hazy sound which ascends ever skywards is still present and correct on the album - but this time it's honed, crafted and less loop based. Roosevelt showcases Lauber as a fully developed recording artist, with an instinctive synthesis of different soundscapes. This is a record with a deep affinity to the dance music world unified with sophisticated, classic song structures.

Single & Lovin' It Vol. 20

Single & Lovin' It Vol. 18